Kudyapi: The long lost guitar

If we are to determine the roots of where we came from, we will actually find an amazing
story of how our ancestors had their originality. Before the colonizers step foot on our ground
and influenced our lives in every inch, we already had a unique image that can be proud of.
Creativity and craftsmanship is what they displayed from their works and it is a sure thing that
can ignite ones curiosity. One of their intriguing work which set ablaze in the Mindanao part
was the KUDYAPI, the long lost guitar of the Pearl of the Orient Sea.
Internationally, Filipinos can compete nowadays, so goes for our ancestors who shone in
the field of art. Their masterpieces reflected the culture and ways of our origin. Every symbol
they used is a very important thing to remind everyone that once upon a time, there exist an
irreplaceable art of Filipinos.
The kudyapi which measures between four and six feet long is a two stringed lute made
out of strong wood, one string is for the melody, and the other is for the drone. These strings are
manipulated when the instrument is played. Eight frets originally held in place positioned on the
neck of the lute by a sticky rubbery substance called propolis, a substance that produced by
honey bees. The hook-shaped head was two tuning pegs of wood, thus resembling the
contemporary guitar.
In terms of decoration the Kudyapi is adorned with florals. The tail is carved to represent
a stylized crocodile head and also a symbol for braveness and fierceness.
Common to kudyapi instruments, a constant drone is played with one string while the
other, an octave above the drone, plays the melody with a rattan pluck which is commonly made
from plastics nowadays.
Among the Manobo and other lumad groups from the southern part of the Philippines, the
instrument is tuned to a major pentatonic scale and used to accompany improvised songs that
certain tribe created.
A common difference between the Mindanaon Moro Kudyapi and the non-Islamized
counterpart is the style and set up of vocal accompaniment. Among the Lumad groups, the
kudyapi player is separated from the vocalists. The vocalists use free-flowing method of singing
on top of the rhythm of the instrument. For the Maguindanao and Maranao, there are set of
rhythms connected with the melody of kudyapi, with the player doubling as the vocalist or the
term which they refer to as bayoka.
Indeed, the Philippines has its own gemstone years ago and some are still shining
brilliantly today. Our task now as the keeper of these priceless treasures is to preserve and protect
the heritage of our lineage.